Principal and Secondary Plots in El esclavo del demonio

8 Ibid., p. 479-80. 'From the censura to the play signed by Pedro de Vargas Machuca in Madrid, February 2, 1625. See La niñez del Padre Roxas, (ed. Bastiamoti), p. 320. 10Rodríguez Marín, pp. 480-81. 11Nuevos datos. . . , p. 481, note 1. 22 Vida de Lope de Vega ( Salamanca, 1969), pp. 143-44. 13P. fray Francisco de Arcos, Primera y Segunda parte de la vida y muerte del venerable P. M. fray Simón de Roxas (Madrid, 1670-78), pp. 310-11. 14Rennert and Castro, Vida de Lope de Vega, pp. 424-25. 15Rodríguez Marín, Nuevos datos. . . , p. 480. i6loc. cit. ^f€«3^v PRINCIPAL AND SECONDARY PLOTS IN EL ESCLAVO DEL DEMONIO Judith Rauchwarger, University of Massachusetts Despite the prominence of Antonio Mira de Amescua in the Golden Age theater, little attention has been paid to his works in recent times.1 This neglect is especially apparent in reference to El esciavo del demonio, characterized by Valbuena Prat as "la obra capital de nuestro autor."2 Perhaps we can ascribe the paucity of material to scholars who favor an argument set forth by Hymen Alpern and José Martel. They opine that the play is inherently weak because "the style is affected, and its introduction of a secondary action totally unrelated to the main one complicated the plot unnecessarily."3 The judgment of Alpern and Martel suggests a rather ingenuous approach to the seventeenth century composition, quite disparate from the view of comedias expressed by A. A. Parker: "The relation of one plot to the other must be looked for in the relation of each to the theme."4 An analysis of the play founded on this latter premise unquestionably reveals a dramatic unity underlying the two separate actions. Indeed, the secondary plot is found to both repeat and enhance thematic development of the central storyline. The main intrigue, of course, originates in the history of Frei Gil de Santarem5 and concerns the doctrine of free will versus predestination. A Dominican , who had heretofore led an exemplary life, falls victim to temptations of the flesh, persuaded that merely contemplating moral turpitude suffices for divine condemnation. This totally irrational attitude represents a denial of God's mercy and His laws. Furthermore , pursuit of sensual pleasures results not in an exercise of free will but in an abdication of it. Free will cannot exist when a system of values — defined by reason — is lacking. Thus, Don Gil's behavior takes on theological implications; it is a direct transgression against the Almighty. In Mira de Amescua's reworking of the legend, Lisarda's role assumes equal significance. As Valbuena aptly notes: "En El esclavo, Lisarda es absolutamente necesaria en la obra, y en cierto modo su eje central, pues quizá sea un carácter aun más sugestivo que el del protagonista." For her too, uncontrolled passion, initially taking the form of rebellion against her father's wishes, is the source of sin: Yyo una hija inobediente, 49 ... a Don Diego de Meneses, tu enemigo, ha cuatro meses que mi voluntad rendí (P- 421). The importance of this abandonment of her filial responsibilities is underlined by the series of images used to describe the behavior of such women: Delfín, caballo, cometa, río, flecha, rayo, nave es la mujer que no sabe ser obediente y sujeta (p. 449). Each object represents a force that moves capriciously and without direction for they are unchecked by reason. So, too, is the course of a lover when not curbed by the intellect and heedless of authority: A quien amor determina ninguna razón refrena (p. 422). Later, her failure to yield to paternal dictates takes on the same religious connotations implicit in Don Gil's conduct . Marcelo clarifies this link when affirming that Lisarda's marriage to Don Diego (which he mistakenly believes has occurred) is an offense not only against him as a father, but also contrary to divine law: y pues ella se ha casado contra el mandato de Dios . . . (p. 455). Another point, which exposes the consequences of disregarding Marcelo's dicta and, therefore, God's injunctions, is found in the use of "perdida" in the...